Fall 2019 Competition: POOR FORM ANNOUNCEMENT

Young Composers Fall 2019 Competition:
"Poor Form"

Welcome to "Poor Form", a competition dedicated to stimulating creativity by way of thematic transformation. Liszt was a huge fan of using this concept; an opening thought would be copied, but used in wildly new ways to preserve unity despite deviating from it! The Renaissance similarly used the "headmotto mass", where each portion of the Ordinary Mass would begin with the same material, before breaking off into different forms of counterpoint. This season, we're going to celebrate originality in the most literal way possible: it's what you do with it that matters. You're going to see a lot of rules, but that's only because this concept is pretty different; we're trying to make it as creatively free as possible!

Topic: Compose a small suite of 4-6 short pieces, each beginning with the same music, then deviating away from it seamlessly into new styles, developments, and orchestrations.  

Composition Rules...
...regarding the shared material:

1. The shared material between all movement must be at least 5% of your movement in terms of performance time. For example, a movement of 2 minutes, must have at least 6 seconds of shared material.
2. Shared material need not be at the same tempo between movements.
3. Shared material must be identical in most ways; it is up to composer discretion what this means, but a hard rule is that not only the melody/theme can be used each movement. The closer the shared material is to being identical between movements, the better.  
   1. Entries for solo monophonic instrument (i.e. not harp, piano, organ) are extra-encouraged to have shared material be identical. 
4. Shared material must be found at the beginning of each movement, and should not reprise mid-movement, with exception of perhaps the final movement.
5. Shared material and new material must sound different, while still sounding appropriate. New material must feel like a natural progression from shared material. The intent is to show composer inventiveness and skill in developing themes and ideas.

...regarding the movement form:

1. Suites must have a final movement in some way combining the branching processes of the other movements. This movement is included in your movement count.
   1. The final movement should not be a restatement of the other movements/processes linearly, but a blend of some sort. 
   2. However, not all processes need to be blended all at once. Basically, make it a mashup of some sort. 
2. Movements, bar the final one, may not exceed 5 minutes in performance time length. Movements must be at least 1 minute long.
3. Shared and new material in movements should transition seamlessly between each other.

Eligibility: 
*You must be a member of the Young Composers forum in order to enter. Sign ups will be in the comments below.
*There will again be no limits regarding instrumentation.
*You must have a minimum of 4 movements in your piece, including the final blend variation.
*You must have some sort of audio rendition accompanying your work.
*You must present a score of your music for judging regarding proper handling of musical convention. 
*If you volunteer to be a judge, you may not enter as a contest participant.
*Note: A written component is not required for this competition. The music should speak for itself this time. 

Scoring:

1. Clear and inventive deviation from the shared material between movements, all with an obviously repeated introduction. /20
2. A conclusive and satisfying, yet creatively combined final movement. /10
3. A good, semi-professional score and audio rendition of the work. /10
4. Sound and realistic instrumentation and orchestration. /10

TOTAL: /50

Deadlines:
Deadline for entrant intent: October 31st
Deadline for entrant's submissions: November 15th
Deadline for judge responses: December 1st
Competition results: by December 8th.

Entry Notes:
Please list your interest to compete by replying to this thread below in the comments. Please note if you are applying as a PARTICIPANT or a JUDGE. I will be updating this list for participants as we go. However, entry into the competition is a commitment. While we would love to have as many interested participants as possible, not entering is better than committing, then dropping. This competition is a little more laid back to encourage more entries! A separate topic for submissions will be available at the end of the entrant application period. 

Note: Judges must be able to provide ample feedback on all 4 categories of scoring as well as provide a numerical score in each. Minimum 1-2 paragraphs per criteria.

Participants: 
isuckatcomposing
Noah Brode
Tónkskáld
KJthesleepdeprived
Gustav Johnson
bkho
HoYin Cheung
J.Santos
luderart

Judges:
Monarcheon
Luis Hernández

"An early example of a "motto" mass is the Missa verbum incarnatum by Arnold de Lantins, probably from around 1430, in which each movement is linked by use of a head motif".

Kyrie (search for the rest of movements, they all begin the same): Gloria, Credo, etc.....

I'd like to participate. I think I would be able to manage as a judge. I think it'll be a nice experience.

If there are others interested in judging, I would'n mind to participate as contestant.

I am joining as a participant.

I'll join as a participant! Thanks for organizing this.

I'm in as a participant, as well! However, I'm also happy to help judge instead if the amount of participants becomes overwhelming.

I will gladly join as a participant!

27 minutes ago, KJthesleepdeprived said:

I will gladly join as a participant!

 

Welcome back 🙂

This will give me a reason to stop doing school work. I'm in as a participant, and will NOT drop! Question: do judges score or do they just provide comments?

1 hour ago, Gustav Johnson said:

do judges score or do they just provide comments?

Glad to give you a reason to get away from all those darn kids (jk I'm friends with teachers and they love it but I see the exhaustion on their faces). Judges will provide both scores and comments.

I'll enter as a participant!

I would like to join as a participant, too!

@HoYin Cheung @isuckatcomposing @Gustav Johnson @bkho @Luis Hernández @Noah Brode @Tónskáld @KJthesleepdeprived 

Please note the rule added under the section regarding shared material (No. 5). This was always the intent, but I felt it should be explicitly stated.

18 minutes ago, Monarcheon said:

Please note the rule added under the section regarding shared material (No. 5). This was always the intent, but I felt it should be explicitly stated.

Yes, that's a good point.

I'm trying to identify some works by Liszt with this form. I don't know if he followed it exactly. The Sonata in B minor shares material in every part.

I have a few questions:

1. Can I assume that shared material can be presented a different meter (e.g. the opening movement is in 4/4 and the following movement is in 3/4, is it okay to reconfigure the theme in 3/4 time)?

2. Can I also assume that the shared material can be presented in a different key?

3. Does all of the shared material have to be in the opening part of the movement?

Thanks.

38 minutes ago, bkho said:

I have a few questions:

1. Can I assume that shared material can be presented a different meter (e.g. the opening movement is in 4/4 and the following movement is in 3/4, is it okay to reconfigure the theme in 3/4 time)?

2. Can I also assume that the shared material can be presented in a different key?

3. Does all of the shared material have to be in the opening part of the movement?

Thanks.

 

Good questions I hadn't considered. Let's go with:

1. Recognizability is key. Obviously it's more clear if the opening material is repeated exactly with orchestration and harmony, but there isn't a deduction, per se, as long as it's really clear.

2. Same general answer as above, but yes, I don't see why not.

3. I think I answered this actually, but yes, shared material should be at the beginning.

The repeated material doesn't need to be a complete thought, does it? Can we do, say, half a sentence as our repeated material, then use the second half of the sentence to break us into the new material/style/etc.? Or is that against the spirit of the thing? Truthfully I don't know where to find good listening examples of this style except what @Luis Hernández shared above, so I'm aiming in the dark!

Gustav

I'm with Gustav... not very familiar with this kind of work. The only thing that comes to mind are "theme and variations," and I don't think that's what we're looking for here, am I right?

6 minutes ago, Gustav Johnson said:

The repeated material doesn't need to be a complete thought, does it? Can we do, say, half a sentence as our repeated material, then use the second half of the sentence to break us into the new material/style/etc.? Or is that against the spirit of the thing? Truthfully I don't know where to find good listening examples of this style except what @Luis Hernández shared above, so I'm aiming in the dark!

Gustav

 

and @Tónskáld I don't think anyone's really used to writing anything like this, even me, so judges are definitely gonna be more lenient with things regarding form! 
You're right: it is not a theme in variations. Gustav, you're in the right headspace; your example would definitely be a good example of what we're going for.

Brilliant, thanks so much!

@Gustav Johnson Take a look at this page:  https://en.wikipedia.org/wiki/Cyclic_form

There are many examples of cyclic form if you consider it widely. I mean, using and recycling material from one part to the others, not strictly at the beginning of each part.

That ancient mass is a good example of what was asked here. I suppose the intention is to "limit" the resources and make it something interesting.

Super helpful, many thanks

I will join as participant!

Edit: If for any reason I can't get to upload my work because my uni. grade, I might be able to judge, since it take less time and preparations, if there's no enough judges

4 minutes ago, J.Santos said:

I will join as participant!

 

Edit: If for any reason I can't get to upload my work because my uni. grade, I might be able to judge, since it take less time and preparations, if there's no enough judges

 

Okay, please note that entering this competition is more of a commitment this time since we want as many participants as possible without having to change the grading scale later on with people dropping.

On 9/26/2019 at 5:20 PM, Monarcheon said:

Okay, please note that entering this competition is more of a commitment this time since we want as many participants as possible without having to change the grading scale later on with people dropping.

 

Then put it at the worst in any case given. Think as if i'm not gonna participate, but I will try to do so. The most important part of this competition for me is not winning (I don't even think i would) but participate, and improve or practice my composition, even if im not considered in, i would love to share my work if i get to do so.

Sometimes folks will post stuff related to the competition separately if they aren't able to follow the timing or the rules or what have you. I look forward to hearing your work!